KOLOMAN MOSER (Vienna 1868 - 1918 Vienna) Allegorical representation lithography/paper, 30 x 32,1 cm monogrammed ...

KOLOMAN MOSER (Vienna 1868 - 1918 Vienna)
Allegorical representation
lithography/paper, 30 x 32,1 cm
monogrammed MK in print, cover with vignette of the annual folder of the Gesellschaft fuer vervielfaeltigende Kunst, Vienna 1903

ESTIMATE °€ 100 - 200
STARTING PRICE °€ 100

Koloman Moser was the son of Josef Moser, administrator at the Vienna Theresianum, and his wife Theresia, nee Hirsch. He studied with Franz Rumpler, Christian Griepenkerl and Josef Mathias Trenkwald. After his father's death, Moser accepted numerous illustration commissions for art magazines such as Wiener Mode or Meggendorfer-Blaetter. On the recommendation of his teacher Josef Mathias Trenkwald, Moser became the drawing teacher of the children of Archduke Karl Ludwig of Austria at Wartholz Castle in Reichenau an der Rax for a year in 1892. Moser's friendship with Carl Otto Czeschka, who was ten years his junior, dates from this time and he passed on the position of drawing teacher at Wartholz Castle to him. From 1892 to 1897, Moser was a member of the Club of Seven, which later became the Vienna Secession. From 1893 to 1895, Moser studied at the Kunstgewerbeschule under Franz von Matsch, where he also taught from 1899. In 1896 he was admitted to the cooperative of visual artists in the Vienna Kuenstlerhaus, but resigned after six months. During that time, he worked on contributions to Martin Gerlach's portfolio “Allegorien. Neue Folge.” In 1897, Moser was a co-founder of the Vienna Secession and won the competition to design the vignette for the letterhead. He provided around 140 illustrations for Ver Sacrum. For the Secession building, which opened in November 1898, Moser designed facade decorations in the form of stylized owls, trees and the frieze of the wreath-bearers, as well as the figural glass window in the entrance hall. In 1897, female portrait medallions as allegories of the virtues, which were intended for Otto Wagner's residential and commercial building, which was completed in 1898. Several designs for textile design for the Austrian company Joh. Backhausen & Sons. Further drafts of a figural stained glass window for the business premises of Josef Hoffmann and drafts for the glass design of the k.k. Court purveyors E. Bakalowits & Sons followed in 1899. He was influenced by the Scottish artist couple Charles Rennie Mackintosh and Margaret MacDonald Mackintosh, who exhibited at the Vienna Secession, and the English Arts & Crafts movement. In 1901, he visited the Bohemian glass factories in Klostermuehle and Winterberg with Ludwig Bakalowits and traveled to Dresden with Carl Moll. In 1900, he became a professor of decorative drawing and painting at the Kunstgewerbeschule. He also produced a series of furniture designs for the furniture and interior design company of Portois & Fix, he created design designs for the renowned Viennese porcelain manufacturer Josef Boeck, and in 1901 a figural glass window for the Bristol hotel in Warsaw. Commissions in the field of Viennese theater: For Felix Salten's "Jung-Wiener Theater" 1901 designs for stage sets, costumes, posters and programmes. In 1902, Moser moved into the residential studio built by Josef Hoffmann on the Hohe Warte in Vienna, where Carl Moll also lived. Moser furnished the apartment according to his own designs. Furniture designs for the Prag-Rudniker basketry factory and the bentwood company Jacob & Josef Kohn, the design of Fritz Warndorf's villa, carried out together with Josef Hoffmann. In 1903, Josef Hoffmann founded the Wiener Werkstaette with Kolo Moser and the industrialist Fritz Waerndorfer: furniture, jewellery, leather and metal work, toys, book covers and other works were made based on Moser's designs. For the workshop itself he designed two figural glass windows. In the summer, Moser travelled with Moll via Munich to Bern, where he met Ferdinand Hodler and Cuno Amiet. In 1905 Moser left the Vienna Secession with the Klimt Group and married the industrialist's daughter Ditha Mautner von Markhof. Moser moved into an apartment in the garden wing of Palais Mautner Markhof. In November 1905, the stamp series designed by Moser for Bosnia-Herzegovina was published. In 1907 Moser left the Wiener Werkstaette because of differences with Fritz Waerndorfer. In 1908 he traveled to Venice with his wife and Hermann Bahr. He received a first prize in 1907 for his design for the painting of the Heilig-Geist-Kirche in Duesseldorf. In 1908 sued the painter Carl Ederer for plagiarism over the design of the high altar in the Steinhof church. In 1908, Moser took part in the Vienna Art Show organised by the Klimt Group, in 1909 in the International Art Show in Vienna and in the Exhibition of Christian Art in Duesseldorf. In 1911, solo exhibition in the Miethke Gallery in Vienna and participation in the International Art Exhibition in Rome as well as a series of stamps and correspondence cards for the 60th anniversary of Emperor Franz Josef I. Commissions for costume designs for the Viennese cabaret Fledermaus, suggestions for the design of the 100-kroner banknote and equipment to the opera "The Musician" by Julius Bittner. 1912 Participation in the Great Art Exhibition in Dresden. Participation in the 1st International Secession Exhibition in Rome, the Large Art Exhibition in Duesseldorf and the Scene Art Exhibition in Mannheim. In 1916, he exhibited at the Vienna Art Show in Berlin and became a member of the German Association of Artists. After falling ill with cancer of the larynx, Moser tried to find a successor at the School of Arts and Crafts from his sickbed (correspondence with Alfred Roller). Adolf Michael Boehm headed the "Moser class" on an interim basis. After Johannes Itten was rejected, Wilhelm Mueller-Hofmann was appointed by Alfred Roller to take Moser's place.

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The purchase price consists of the highest bid plus the buyer's premium, sales tax and, if applicable, the fee of artists resale rights. In the case of normal taxation (marked °), a premium of 24% is added to the highest bid. The mandatory sales tax of 13%, for photographys 20%, is added to the sum of the highest bid and the buyer's premium. The buyer's premium amounts to 28% in case of differential taxation. The sales tax is included in the differential taxation.